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'War, Women and Song'

The Case of Hanka Ordonówna

Beth Holmgren

This article analyses the performances of the Polish cabaret singer-cum-movie star, Hanka Ordonówna/Ordonka, during the Second World War, and subsequent representations of her through physical monuments and biographical treatments in print and on film. It locates Ordonka in the context of female performers entertaining the troops, the lone woman on the front socially approved for her tasteful display of a morale-boosting sexuality before an audience of largely male combatants. ‘War, Women and Song’ argues for Ordonka’s exceptional case due to her popular pre-war celebrity and her own war time experience, when she shared or witnessed her compatriots’ tragic fate of occupation, deportation, mass death and, in many cases, permanent exile. In her war work, Ordonka doubly incarnated for her audiences a lost pre-war culture of urbane sophistication and eroticised charm and a war time victim turned conventional national heroine when she spearheaded a rescue mission of five hundred Polish children orphaned by Soviet atrocities. Ordonka came to represent to her nation both an irresistible lover and an exemplary surrogate parent with the qualities of a self- sacrificing matka polka (Polish mother).

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David N. Myers, Pnina Lahav, Sarab Abu-Rabia-Queder, Adi Mahalel, and Lauren B. Strauss

to Israel are mostly male, even though Jewish female performers from Sophie Tucker to Sarah Silverman have spoken about their personal relationship with the State of Israel, and have opined on its politics and position in the world. The American

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Minority Report

Perceptions and Realities of Black Men in Heterosexual Porn

Darryl L. Jones II

their sexual capital, talents, and knowledges to perform sexual service work on ‘the margins’ of an economy increasingly focused on the commodification of intimacy” ( Miller-Young 2010: 224 ). As Miller-Young found in her own study of black female